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Hadestown
This intriguing and beautiful folk opera delivers a deeply resonant and defiantly hopeful theatrical experience. Following two intertwining love stories - that of young dreamers Orpheus and Eurydice, and of immortal King Hades and Lady Persephone - Hadestown invites audiences on a hell-raising journey to the underworld and back. Inspired by traditions of classic American folk music and vintage New Orleans jazz, Mitchell's beguiling sung-through musical pits industry against nature, doubt against faith, and fear against love.
124 pages, Paperback
First published May 21, 2021
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Displaying 1 - 30 of 81 reviews
December 19, 2022
"Why We Build the Wall", the closing song of the first act, hits a societal bullseye. It's so right on the money that it's worth the price of admission all by itself!
November 15, 2024
Favorite musical ever. I am proud to say that I had the opportunity to be Assistant Stage Manager of the 14th Production of Hadestown: Teen nationwide!
February 27, 2024
I have had my eye on this production since it was Off-Broadway, following its' journey to sweeping the Tony Awards in 2019. I'm smitten by it. This folk opera is so cleverly written and timely. This was my second time seeing the Broadway tour.
"It's an old song from way back when". Hadestown, written by Anais Mitchell, is a fused re-writing of Hades and Persephone with Orpheus and Eurydice. In it's modern stage adaptation, Orpheus is a songwriter and is working on his newest piece about Hades and Persephone. He soon falls in love with the homeless muse, Eurydice. She is captivated by him when he sings. He vows to care for her through the coming winter, promising that the song he is writing will provide what they need. But winter comes and Eurydice is hungry. Hades arrives on his train to pick up Persephone after bringing the earth her 6-month Spring and Summer. She dreads going back down to Hadestown with her husband. They have lost the love they once had. Hades is not the same and has become more greedy, building his empire of wealth. He preys on those who live in poverty. He notices the hungry and cold Eurydice and promises she will never go hungry if she will sign her soul away to him. She accepts while Orpheus is still writing his song. Orpheus looks for her but Hermes, our narrator, tells him she's gone down below, telling him he'll have to take the back way into Hadestown to find her. It's a long journey, but he arrives ready to rescue his love. When Hades won't let her go, Persephone convinces him to let Orpheus sing him a song. Orpheus sings the song he's finally finished, the love story between Hades and Persephone, using familiar melody lines long forgotten. Hades is moved and is faced with letting Eurydice go under one condition. On the return, when they are walking, Orpheus must lead with Eurydice following. He must not look back to check her location. If he looks back she will be taken back down below forever never to return. Most know the ending. I won't completely spoil it.
The modern telling of this old story is stunning with its' production elements, costumes, New Orleans Zydeco and folk music styles, script, cast, choreography and powerful acting. It is like no other stage production. "Wait For Me", "When the Chips are Down", and "Keep Your Head Low" are some of my favorite numbers. The ending is POWERFUL. The audience could hear a pin drop in the Theater - both times. If this ever comes to a city near you, it's worth every penny to see it. I promise.
"It's an old song from way back when". Hadestown, written by Anais Mitchell, is a fused re-writing of Hades and Persephone with Orpheus and Eurydice. In it's modern stage adaptation, Orpheus is a songwriter and is working on his newest piece about Hades and Persephone. He soon falls in love with the homeless muse, Eurydice. She is captivated by him when he sings. He vows to care for her through the coming winter, promising that the song he is writing will provide what they need. But winter comes and Eurydice is hungry. Hades arrives on his train to pick up Persephone after bringing the earth her 6-month Spring and Summer. She dreads going back down to Hadestown with her husband. They have lost the love they once had. Hades is not the same and has become more greedy, building his empire of wealth. He preys on those who live in poverty. He notices the hungry and cold Eurydice and promises she will never go hungry if she will sign her soul away to him. She accepts while Orpheus is still writing his song. Orpheus looks for her but Hermes, our narrator, tells him she's gone down below, telling him he'll have to take the back way into Hadestown to find her. It's a long journey, but he arrives ready to rescue his love. When Hades won't let her go, Persephone convinces him to let Orpheus sing him a song. Orpheus sings the song he's finally finished, the love story between Hades and Persephone, using familiar melody lines long forgotten. Hades is moved and is faced with letting Eurydice go under one condition. On the return, when they are walking, Orpheus must lead with Eurydice following. He must not look back to check her location. If he looks back she will be taken back down below forever never to return. Most know the ending. I won't completely spoil it.
The modern telling of this old story is stunning with its' production elements, costumes, New Orleans Zydeco and folk music styles, script, cast, choreography and powerful acting. It is like no other stage production. "Wait For Me", "When the Chips are Down", and "Keep Your Head Low" are some of my favorite numbers. The ending is POWERFUL. The audience could hear a pin drop in the Theater - both times. If this ever comes to a city near you, it's worth every penny to see it. I promise.
May 10, 2022
I never saw the musical but when I found the script I had to read it. Wait For Me (Reprise) will absolutely make you cry if you listen to it. I love the concept and the writing and lyrics are incredible!
May 5, 2025
I hold so much love for this musical. Taking a moment to follow along in this script with the soundtrack made me really engage with the material on a very tangible level. I was ✨holding space for the lyrics of Hadestown ✨
This was never gonna be anything other that 5 stars, it’s a masterpiece of a musical and i would encourage everyone to go watch it if you can.
“He could make you see how the world could be, in spite of the way that it is.” 🌹
This was never gonna be anything other that 5 stars, it’s a masterpiece of a musical and i would encourage everyone to go watch it if you can.
“He could make you see how the world could be, in spite of the way that it is.” 🌹
March 4, 2025
Nothing in this world makes me feel as hadestown does. An old tale yet so modern in our day and age. Written with so much pain and love. Both broadway and west end cast perform this in their own way, both beautiful both strong and emotional and eye opening.
Forever my favourite musical. If you ever get the chance, please go see it.
Forever my favourite musical. If you ever get the chance, please go see it.
August 29, 2025
If the Mongol General from Conan the Barbarian ever hit me with the classic "What is best in life?" line I'd probably respond: mythic retellings, tragic hetero romance, and musical projects which prominently feature a train whistle!
April 13, 2024
I could never put my feelings into words in terms of what I feel for this musical. I am astounded by it every time I listen. Every time I feel. Every time I read. Every time I watch it. So we’ll just sing it again and again and again.
December 21, 2025
3.5*
We had tickets to see the play and had no idea what it was about, let alone it had won 8 Tonys in 2019.
Having read this before the production helped immensely. I was able to follow the storyline to a tee.
The play was very good and the actors did a fabulous job portraying their characters. This was a perfect companion for the play and enhanced the production of the play even more than I expected.
I enjoyed them both.
We had tickets to see the play and had no idea what it was about, let alone it had won 8 Tonys in 2019.
Having read this before the production helped immensely. I was able to follow the storyline to a tee.
The play was very good and the actors did a fabulous job portraying their characters. This was a perfect companion for the play and enhanced the production of the play even more than I expected.
I enjoyed them both.
March 29, 2025
Luckily there are beautiful songs and a well-thought-out set, because the storyline has only subtly been changed and could use a little more oumpf
June 19, 2025
3.75 ⭐ I wish it was longer
November 6, 2024
I have been obsessing over this musical for quite a while now. I haven't gotten to see it yet, and though it's a sung-through folk opera, reading through the script brought a new dimension to it that will hopefully hold me over a little longer until I can see it live.
Anaïs Mitchell has created a masterpiece with this show. And I am here for all of it.
5 stars.
Anaïs Mitchell has created a masterpiece with this show. And I am here for all of it.
5 stars.
July 20, 2021
one of the most astonishing, and heartbreaking musicals. i throughly enjoy it! recommend listening to the soundtrack of the original cast and follow along the script! it elevates the experience!
December 9, 2021
Loved this show when I saw it on broadway. Read the play/book first. The show is through composed, so it’s more of a libretto than the book of a musical. Terrific!
November 18, 2024
I’ll watch it again and again and again!!
February 18, 2024
ORPHEUS
And that is the reason we're on this road
And the seasons are wrong
And the wind is so strong
That's why times are so hard
It's because of the gods
The gods have forgotten the song of their love
I've been dying to watch this musical for the longest time, but because I can't, since I don't live in the US, I've decided to read the script. It's was beautiful! There's a greater meaning to the play than just the mere myth, and I loved that aspect. Would love to watch it live someday. What I've been doing, though, is listening to the songs! The raw emotion they convey is HEART SHATTERING
And that is the reason we're on this road
And the seasons are wrong
And the wind is so strong
That's why times are so hard
It's because of the gods
The gods have forgotten the song of their love
I've been dying to watch this musical for the longest time, but because I can't, since I don't live in the US, I've decided to read the script. It's was beautiful! There's a greater meaning to the play than just the mere myth, and I loved that aspect. Would love to watch it live someday. What I've been doing, though, is listening to the songs! The raw emotion they convey is HEART SHATTERING
December 26, 2024
Hadestown er en fremragnede musical, som man kan lytte til på spotify - GØR DET.
For mig er kombinationen af fortælling og musik som ren ekstatisk nydelse der bliver serveret direkte til min sjæl ind gennem øregangen. Overdrivelse? Nej. Men lyt på eget ansvar, for den er lige så rørende og hjerteskærende som den er inspirende og morsom.
Hvorfor lave en anmeldelse af en musical på GoodReads? Fordi fortællingen er helt fantastisk; som en bog ville den være fantastisk i sig selv.
Det er i princippet en lydbog der bliver sunget for dig, og så gør det jo ikke noget, at næsten alle sangene er totalt bangers og skuespillerne synger guddommeligt.
For mig er kombinationen af fortælling og musik som ren ekstatisk nydelse der bliver serveret direkte til min sjæl ind gennem øregangen. Overdrivelse? Nej. Men lyt på eget ansvar, for den er lige så rørende og hjerteskærende som den er inspirende og morsom.
Hvorfor lave en anmeldelse af en musical på GoodReads? Fordi fortællingen er helt fantastisk; som en bog ville den være fantastisk i sig selv.
Det er i princippet en lydbog der bliver sunget for dig, og så gør det jo ikke noget, at næsten alle sangene er totalt bangers og skuespillerne synger guddommeligt.
November 30, 2025
haven't seen the show live on stage. bit my friend has told me so much about the show and how great it is. she lent me this book and suggested I listen to the soundtrack while reading and it made it so fun. I will go see the show one day.
September 2, 2024
Orpheus and Eurydice.
September 9, 2024
This was for a class!! I’ve seen the show, but reading it really allowed me to see all the details. This musical is such a great adaptation, everyone needs to get into it.
September 7, 2025
Love it. Saw the show, bought the script. Reads like poetry, the melodies came flying back while reading. Lovely adaptation of the tale of Orpheus!
December 30, 2022
SOBBING. The love I have for this play is neverending. I NEED TO SEE IT!
December 13, 2023
It was actually pretty good….buuuut I read the play for class so there’s that.
June 27, 2024
As a huge mythology lover I’m always very critical on retellings but this was lovely, especially the way it portrayed Hades and Persephone was really well thought out.
September 26, 2022
While I was able to pick up The Play That Goes Wrong for free at the Drama Book Shop, I wanted to support the store at their new location, so I picked this up for $11. I've yet to see the show, but I have the Original Broadway Cast Recording and the Anaïs Mitchell Concept Album, so I'm familiar with the music.
Little did I know the show is a sung-through musical where there is no book! Almost everything in Hadestown is on my CD (I think perhaps the only thing on the page that isn't recorded on the CD are a handful of "Alright"s as the cast gets into place before the opening number...)
And while I was disappointed in reading this and gaining nothing from what is basically an audiobook in my OBCR, it's still an amazing musical that I hope to see on Broadway soon.
As Hermes says, "To know how it ends / And still begin / To sing it again / As if it might turn out this time" proves how well Mitchell took a familiar story and told it so inventively.
Little did I know the show is a sung-through musical where there is no book! Almost everything in Hadestown is on my CD (I think perhaps the only thing on the page that isn't recorded on the CD are a handful of "Alright"s as the cast gets into place before the opening number...)
And while I was disappointed in reading this and gaining nothing from what is basically an audiobook in my OBCR, it's still an amazing musical that I hope to see on Broadway soon.
As Hermes says, "To know how it ends / And still begin / To sing it again / As if it might turn out this time" proves how well Mitchell took a familiar story and told it so inventively.
March 10, 2026
There are a lot of bold claims you can make in musical theatre.
You can say this show has the best songs.
That show has the best choreography.
Another has the best spectacle, or the biggest emotions, or the most impressive belting marathon disguised as a score.
But saying Hadestown is the greatest musical ever written isn’t just a hot take.
It’s not about rankings, or Tony counts, or even personal nostalgia.
It’s about the fact that Hadestown understands what musical theatre is for—and then executes that idea with frightening precision.
Not loudly.
Not arrogantly.
Just… confidently.
And the wild thing is, it doesn’t feel like it’s trying to be the greatest musical ever.
It just is, because every single part of it is in conversation with every other part.
At its core, Hadestown is a retelling of Orpheus and Eurydice. A myth so old it feels like it’s already fossilized.
We know how it ends. Everyone knows how it ends.
And that’s the first reason it works.
Musical theatre loves surprise twists, shocking reveals, last-minute saves. Hadestown does the opposite. It looks you in the eye and says, “You already know this is going to hurt.”
But instead of asking what happens, it asks why we keep telling this story anyway.
And that question bleeds into everything:
Why do we fall in love knowing it might end?
Why do we keep building worlds that grind people down?
Why do we keep hoping, even when history tells us not to?
Orpheus isn’t a traditional hero. He’s not strong. He’s not decisive. He’s not even particularly practical. He’s soft. He believes in songs. He believes that beauty can change things. And the show never mocks him for that—even when that belief fails.
Eurydice isn’t just “the girl who dies.” She’s tired. She’s hungry. She’s realistic in a way that hurts. Her choices aren’t framed as stupidity or weakness, but as survival. The show understands that desperation isn’t a moral failing—it’s a condition.
And then there’s Hades and Persephone, who might be the smartest reinterpretation of myth in modern theatre. Their relationship isn’t evil versus good; it’s rigidity versus decay, control versus chaos, capitalism versus climate. Their marriage is a system that worked once and then rotted.
No one in Hadestown is purely wrong.
And that’s why everyone feels devastatingly real.
And then of course, there's the music, this is where Hadestown quietly wipes the floor with most of Broadway.
This score doesn’t just sound good.
It means something.
Folk, jazz, blues, New Orleans funeral rhythms—these aren’t aesthetic choices. They’re narrative tools. The music itself feels cyclical, like the myth. Melodies return, lines repeat, harmonies evolve or decay depending on who’s singing them.
Songs aren’t “numbers.” They’re arguments.
Orpheus’s music is unfinished. It’s fragile. It keeps breaking apart and trying again. Hades’ music is rigid, percussive, industrial. Persephone’s music swings between warmth and exhaustion. The workers’ chorus moves like machinery.
Even the way songs overlap—how characters interrupt, echo, or literally sing past each other—creates meaning without spelling anything out.
And that is the mark of great musical writing: when the score trusts the audience.
Nothing is over-explained.
Nothing pauses to say, “This is the theme now.”
You feel it before you name it.
Here’s the miracle of Hadestown: it is deeply cynical and deeply hopeful at the same time.
That’s almost impossible to pull off.
The show is brutally honest about systems of exploitation, about how power entrenches itself, about how love doesn’t always win. And yet, it never tells you that hope is foolish.
In fact, it dares to say something much harder:
Hope might fail—and still be worth choosing.
The ending doesn’t change. Orpheus turns around. The world resets. The cycle continues.
And instead of feeling cheated, you feel… understood.
Because Hadestown isn’t about believing things will work out.
It’s about believing that trying still matters.
That final message—that the act of telling the story again is itself an act of resistance—is one of the most emotionally mature conclusions musical theatre has ever offered.
No fireworks.
No triumphant reprise.
Just a quiet insistence that art is how we survive despair.
Visually, Hadestown is a masterclass in restraint.
There are no giant set changes screaming for applause. The world is built out of suggestion: lamps, rails, movement, shadows. The underworld doesn’t need to look grand—it needs to feel inevitable.
The choreography isn’t flashy. It’s functional. People move like laborers. Like crowds. Like cogs. When someone breaks out of that movement, it means something.
Even the lighting feels musical. Warmth and cold aren’t just moods; they’re ideologies.
And that’s the throughline again: everything serves the story.
Here’s the thing people don’t always articulate: Hadestown feels good because it respects you.
It doesn’t chase trends.
It doesn’t flatten its ideas for accessibility.
It doesn’t confuse loudness with importance.
It invites you in, trusts you to listen, and lets you sit with uncomfortable feelings without rushing to resolve them.
That’s rare. Especially in a medium that often feels pressured to be immediately gratifying.
Hadestown knows that catharsis doesn’t have to be explosive. Sometimes it’s quiet. Sometimes it’s just being seen.
So when I say Hadestown is the greatest musical ever written, I don’t mean it’s flawless.
I mean it understands itself completely.
Its story, its music, its staging, its themes—they’re not separate departments working in parallel. They’re one organism.
And more than that, it understands us.
It knows we live in a world where love feels fragile, systems feel immovable, and hope feels naïve.
And it still dares to sing.
Not because it thinks the song will save the world.
But because silence definitely won’t.
And maybe that’s what great musical theatre has always been about.
Telling the story anyway.
Singing it again.
Even when we know how it ends.
Because maybe the point isn’t to change the ending.
Maybe the point is to keep believing that telling the story matters.
And Hadestown doesn’t just tell you that.
It proves it.
You can say this show has the best songs.
That show has the best choreography.
Another has the best spectacle, or the biggest emotions, or the most impressive belting marathon disguised as a score.
But saying Hadestown is the greatest musical ever written isn’t just a hot take.
It’s not about rankings, or Tony counts, or even personal nostalgia.
It’s about the fact that Hadestown understands what musical theatre is for—and then executes that idea with frightening precision.
Not loudly.
Not arrogantly.
Just… confidently.
And the wild thing is, it doesn’t feel like it’s trying to be the greatest musical ever.
It just is, because every single part of it is in conversation with every other part.
At its core, Hadestown is a retelling of Orpheus and Eurydice. A myth so old it feels like it’s already fossilized.
We know how it ends. Everyone knows how it ends.
And that’s the first reason it works.
Musical theatre loves surprise twists, shocking reveals, last-minute saves. Hadestown does the opposite. It looks you in the eye and says, “You already know this is going to hurt.”
But instead of asking what happens, it asks why we keep telling this story anyway.
And that question bleeds into everything:
Why do we fall in love knowing it might end?
Why do we keep building worlds that grind people down?
Why do we keep hoping, even when history tells us not to?
Orpheus isn’t a traditional hero. He’s not strong. He’s not decisive. He’s not even particularly practical. He’s soft. He believes in songs. He believes that beauty can change things. And the show never mocks him for that—even when that belief fails.
Eurydice isn’t just “the girl who dies.” She’s tired. She’s hungry. She’s realistic in a way that hurts. Her choices aren’t framed as stupidity or weakness, but as survival. The show understands that desperation isn’t a moral failing—it’s a condition.
And then there’s Hades and Persephone, who might be the smartest reinterpretation of myth in modern theatre. Their relationship isn’t evil versus good; it’s rigidity versus decay, control versus chaos, capitalism versus climate. Their marriage is a system that worked once and then rotted.
No one in Hadestown is purely wrong.
And that’s why everyone feels devastatingly real.
And then of course, there's the music, this is where Hadestown quietly wipes the floor with most of Broadway.
This score doesn’t just sound good.
It means something.
Folk, jazz, blues, New Orleans funeral rhythms—these aren’t aesthetic choices. They’re narrative tools. The music itself feels cyclical, like the myth. Melodies return, lines repeat, harmonies evolve or decay depending on who’s singing them.
Songs aren’t “numbers.” They’re arguments.
Orpheus’s music is unfinished. It’s fragile. It keeps breaking apart and trying again. Hades’ music is rigid, percussive, industrial. Persephone’s music swings between warmth and exhaustion. The workers’ chorus moves like machinery.
Even the way songs overlap—how characters interrupt, echo, or literally sing past each other—creates meaning without spelling anything out.
And that is the mark of great musical writing: when the score trusts the audience.
Nothing is over-explained.
Nothing pauses to say, “This is the theme now.”
You feel it before you name it.
Here’s the miracle of Hadestown: it is deeply cynical and deeply hopeful at the same time.
That’s almost impossible to pull off.
The show is brutally honest about systems of exploitation, about how power entrenches itself, about how love doesn’t always win. And yet, it never tells you that hope is foolish.
In fact, it dares to say something much harder:
Hope might fail—and still be worth choosing.
The ending doesn’t change. Orpheus turns around. The world resets. The cycle continues.
And instead of feeling cheated, you feel… understood.
Because Hadestown isn’t about believing things will work out.
It’s about believing that trying still matters.
That final message—that the act of telling the story again is itself an act of resistance—is one of the most emotionally mature conclusions musical theatre has ever offered.
No fireworks.
No triumphant reprise.
Just a quiet insistence that art is how we survive despair.
Visually, Hadestown is a masterclass in restraint.
There are no giant set changes screaming for applause. The world is built out of suggestion: lamps, rails, movement, shadows. The underworld doesn’t need to look grand—it needs to feel inevitable.
The choreography isn’t flashy. It’s functional. People move like laborers. Like crowds. Like cogs. When someone breaks out of that movement, it means something.
Even the lighting feels musical. Warmth and cold aren’t just moods; they’re ideologies.
And that’s the throughline again: everything serves the story.
Here’s the thing people don’t always articulate: Hadestown feels good because it respects you.
It doesn’t chase trends.
It doesn’t flatten its ideas for accessibility.
It doesn’t confuse loudness with importance.
It invites you in, trusts you to listen, and lets you sit with uncomfortable feelings without rushing to resolve them.
That’s rare. Especially in a medium that often feels pressured to be immediately gratifying.
Hadestown knows that catharsis doesn’t have to be explosive. Sometimes it’s quiet. Sometimes it’s just being seen.
So when I say Hadestown is the greatest musical ever written, I don’t mean it’s flawless.
I mean it understands itself completely.
Its story, its music, its staging, its themes—they’re not separate departments working in parallel. They’re one organism.
And more than that, it understands us.
It knows we live in a world where love feels fragile, systems feel immovable, and hope feels naïve.
And it still dares to sing.
Not because it thinks the song will save the world.
But because silence definitely won’t.
And maybe that’s what great musical theatre has always been about.
Telling the story anyway.
Singing it again.
Even when we know how it ends.
Because maybe the point isn’t to change the ending.
Maybe the point is to keep believing that telling the story matters.
And Hadestown doesn’t just tell you that.
It proves it.
August 10, 2025
This is like if a lab tried to chemically engineer a piece of media that I would love
September 10, 2025
I decided to get this script when I went to watch the West End cast (yes, that was a rewatch), and I do not regret it a single bit. This is definitely one of my favorite musicals of all time because it gives me some hope for my future rather than just pure dread (which believe me is hard to do) and I love the messages it contains. Seeing it written out only cemented it for me. I noticed new things I didn't notice when I watched it live and honestly, just the number of layers there are to this story.
"If it's True" and "Chant (Reprise)" are by far my favorite parts of the musical and reading the lyrics confirmed it. They are just really well-written and encourage you to think about the story critically and apply it to your own life rather than watching it detached from the plot.
Pretty big spoiler ahead that I reference indirectly:
It's kinda weird, but somehow the musical gets more and more sad at every reread, even though you know what's going to happen. I think it's because you can concentrate more on the characters rather than just the plot and you understand more how much Orpheus and Eurydice mean to each other and how much the ending is just going to break them. Especially with Orpheus, you realize how differently he views certain aspects of the world and how much it will hurt him when his own doubt causes the thing he dreads the most. Although it really is up to interpretation. The second Orpheus I saw gave more of a naive vibe which made the ending hurt exponentially more, while the first played Orpheus as a man driven by love which made the ending feel a little more like a "dude wtf" moment. However, each worked in the story so see it for yourself when you read the script ;)
Highly recommend reading this script or giving it a watch if you are able. However, if you're reading the script for the first time, I recommend giving the songs a listen so you understand the overlapping dialogue because sometimes it's hard to tell. I even pulled up the songs as a reference throughout.
"If it's True" and "Chant (Reprise)" are by far my favorite parts of the musical and reading the lyrics confirmed it. They are just really well-written and encourage you to think about the story critically and apply it to your own life rather than watching it detached from the plot.
Pretty big spoiler ahead that I reference indirectly:
It's kinda weird, but somehow the musical gets more and more sad at every reread, even though you know what's going to happen. I think it's because you can concentrate more on the characters rather than just the plot and you understand more how much Orpheus and Eurydice mean to each other and how much the ending is just going to break them. Especially with Orpheus, you realize how differently he views certain aspects of the world and how much it will hurt him when his own doubt causes the thing he dreads the most. Although it really is up to interpretation. The second Orpheus I saw gave more of a naive vibe which made the ending hurt exponentially more, while the first played Orpheus as a man driven by love which made the ending feel a little more like a "dude wtf" moment. However, each worked in the story so see it for yourself when you read the script ;)
Highly recommend reading this script or giving it a watch if you are able. However, if you're reading the script for the first time, I recommend giving the songs a listen so you understand the overlapping dialogue because sometimes it's hard to tell. I even pulled up the songs as a reference throughout.
This entire review has been hidden because of spoilers.
August 7, 2024
I read this after finishing Lore Olympus so to me, while it was Orpheus and Eurydice's love story, it was also Hades and Persephone's and immortals getting their flame reignited while watching mortals struggling to let their spark catch fire in the winds of socio-economic hardship is always my cup of tea :')
But I have a bone to pick with the construction of the book itself - why are they so stingy with the stage directions in the text? If all I wanted were the lyrics of the songs, I could have printed them out of the Internet - if this book was supposed to be the libretto it should have acted like it more😔
But I have a bone to pick with the construction of the book itself - why are they so stingy with the stage directions in the text? If all I wanted were the lyrics of the songs, I could have printed them out of the Internet - if this book was supposed to be the libretto it should have acted like it more😔
October 5, 2022
I just finished reading it and I'm still crying.
Hermes warns us from the beginning that we are going to witness a tragedy, and it is such a well-known myth that we already know what is going to happen, but hope is foolish and we expect the end to be different.
Hermes warns us from the beginning that we are going to witness a tragedy, and it is such a well-known myth that we already know what is going to happen, but hope is foolish and we expect the end to be different.
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